Persian architecture is heavily rooted in geometric pattern and geometry systems. Over time, iterations of
geometry systems such as the Chalipa (or Persian 9-square) have grown to become an easily identifiable
aesthetic of Iranian architecture and cultural identity. But beyond their cultural heritage, these geometry
systems also have a uniquely adaptive vocabulary which responds to new technologies and design
processes; inspiring creative re-interpretations of formal and spatial expression that reflect the collective
design ethos of any given time in Iranian history.
In the context of this design, the Chalipa grid pattern was used as a 3 dimensional generative framework
for an interactive urban microspace. The grid is used to generate vertically stacked iterations of a simple
cross, which are then morphed together using an alternating morphing system. This doubly iterative system
produces numerous archetypes which are responsive to different locations, demographies, functional
scenarios and activities while maintaining a formal unity that is both dynamic and culturally relatable.
Functionally, each iteration allows for a variety of seating scenarios and encourages interaction between
other users as well as with the unit itself. The initial prototype is digitally fabricated through CNC milling,
creating a mold which is used to manufacture the finished product. Each piece weighs 170 kg, can seat
up to 12 people, and is made of high density, non-scratch fiber glass in a variety of colors. The current
iteration was commissioned by the city of Hamedan to be placed along the University campus promenade.
Chalipa furniture pieces are universally accessible and foster multi-generational interaction, transforming
the urban void and becoming a point of community connectivity.
In collabration with Marizad Architects and Ahmad Bathai